LRA Community:http://hdl.handle.net/2381/849
Tue, 03 Mar 2015 20:21:29 GMT2015-03-03T20:21:29ZWhipping Boys: Attitudes Towards Beating in Medieval Pedagogyhttp://hdl.handle.net/2381/31697
Title: Whipping Boys: Attitudes Towards Beating in Medieval Pedagogy
Authors: Parsons, Ben
Abstract: It is undeniable that the later Middle Ages saw impressive advances in the field of education. Between the years 1000 and 1500, the first universities appeared, grammar schooling started to peel away from monasteries and cathedrals, and vocational training became increasingly formalised. Nevertheless, an outstanding feature of medieval education was its reliance on corporal discipline. [Taken from opening paragraph]
Description: This item is under embargo while permission to archive is requested from the Publisher.Tue, 17 Feb 2015 15:22:26 GMThttp://hdl.handle.net/2381/316972015-02-17T15:22:26ZFantastical Distempers: The Psychopathology of Early Modern Scholarshttp://hdl.handle.net/2381/31677
Title: Fantastical Distempers: The Psychopathology of Early Modern Scholars
Authors: Knight, SarahMon, 16 Feb 2015 14:56:56 GMThttp://hdl.handle.net/2381/316772015-02-16T14:56:56ZThe Representation and Reception of the Devil in the Eleventh Centuryhttp://hdl.handle.net/2381/31609
Title: The Representation and Reception of the Devil in the Eleventh Century
Authors: Roberson, Owen Gruffydd Tudor
Abstract: This thesis examines the representation of the devil in late Anglo-Saxon England as perceived by the large, lay audience, which is represented only rarely in the textual record. Considering the relationship between the interpretations of the period as evinced by literary, historical and archaeological evidence, the investigation considers the extent to which we can discern the presence and profile of an audience for the themes with which the evidence is concerned.
The surviving vernacular texts of late Anglo-Saxon England indicate a growth in the importance of the canon of homiletic texts and an expansion of its function in the last decades of the tenth century. By considering the representation of the character of the devil and similar characters such as attendant demons, Antichrist, and human agents typologically and explicitly linked with the devil, this thesis takes the traditional approach of a thematic investigation and augments it by considering the impact of these representations in the context of their relative influence on audiences as evinced by their survival in the manuscript record.
Considering the authors’ subsequent re-engagement with their own canons, this thesis seeks to locate attitudes towards audience and the manner in which the expressive opportunity offered by the devil is moulded to its function in motivating specific action in the texts’ audience. Through their representation of the devil, homilists show both active engagement with their audiences’ pastoral needs and anxiety about their limitations.Thu, 05 Feb 2015 12:11:35 GMThttp://hdl.handle.net/2381/316092015-02-05T12:11:35ZCelebration, spectacles and theatricality in Conquistador Mexicohttp://hdl.handle.net/2381/31577
Title: Celebration, spectacles and theatricality in Conquistador Mexico
Authors: Toner, Deborah
Abstract: Book review of Fiesta, espectáculo y teatralidad en el México de los conquistadores - by Hernán Ramírez, HugoWed, 04 Feb 2015 10:33:07 GMThttp://hdl.handle.net/2381/315772015-02-04T10:33:07ZThe Manufactured Homespun Style of John Bunyan’s Prosehttp://hdl.handle.net/2381/31488
Title: The Manufactured Homespun Style of John Bunyan’s Prose
Authors: Coleman, Julie M.Mon, 26 Jan 2015 10:48:46 GMThttp://hdl.handle.net/2381/314882015-01-26T10:48:46ZJuvenes Ornatissimi : The Student Writing of George Herbert and John Miltonhttp://hdl.handle.net/2381/31485
Title: Juvenes Ornatissimi : The Student Writing of George Herbert and John Milton
Authors: Knight, Sarah Marie
Editors: Houghton, L; Manuwald, G
Abstract: 'A bard is sacred to the gods and the priest of the gods'- Diis etenim
sacer est vates, divumque sacerdos (line 77) -declares Milton's speaker
in Elegia Sexta, written when he had just started his M.A. at Cambridge
in 1629. Characterising poetic composition as highly serious,
even sacerdotal, Milton apparently was as busy as the most dedicated
religious officiant writing verse as a student. As a Cambridge undergraduate
two decades earlier, George Herbert sent his mother Magdalen
an English sonnet that also aligns poetry with piety:~
My God, where is that ancient heat towards thee,
Wherewith whole shawls of Martyrs once did burn,
Besides their other flames. Doth Poetry
Wear Venus Livery? only serve her turn?
Herbert was about seventeen when he wrote this sonnet, Milton around
twenty-one when he Wrote Elegia Sexta: for both young men, what the
poet should be and what poetry should do were clearly important
questions. Through an exploration of their student writing we can learn
the answers that these two juvenes ornatissimi ('most distinguished
young men') formulated at the earliest stages of their literary careers:1
Precocious talents, Herbert and Milton first meaningfully articulated
as students what they perceived to be the poet's responsibilities, arguing
for the higher aims of poetry with images of holy bards and martyrs
while negotiating their way through academic curricula. Particularly
significant for this study, given the humanistic emphasis of early
seventeenth-century curricula, are the ways in which these two profoundly
Christian poets conceptualise the classical past and consequently
represent the value o[ their own training in Greek and Latin for their
poetic careers.Fri, 23 Jan 2015 16:46:47 GMThttp://hdl.handle.net/2381/314852015-01-23T16:46:47ZEverything She Doeshttp://hdl.handle.net/2381/31474
Title: Everything She Does
Authors: Knight, Sarah Marie
Abstract: As for any seventeenth-century girl fortunate
enough to be educated, the
schooling of Lucy, daughter of Sir
Allen Apsley (then Lieutenant of the Tower
of London), was in the hands of a private
tutor. Some years later, Lucy Hutchinson née
Apsley would remark that in Latin “I outstript
my brothers who were at schoole”,
despite the fact that the tutor (her father’s
chaplain) was “a pittifull dull fellow”. Outstripping
her brothers in Latin indirectly
resulted in Hutchinson embarking on the
challenging task of translating a six-book
hexameter account of Epicurean philosophy
into English: Lucretius’ De rerum natura
(“On the Nature of Things”). [Opening Paragraph]Thu, 22 Jan 2015 16:03:18 GMThttp://hdl.handle.net/2381/314742015-01-22T16:03:18ZThe Niniversity at the Bankside: Robert Greene's Friar Bacon and Friar Bungayhttp://hdl.handle.net/2381/31423
Title: The Niniversity at the Bankside: Robert Greene's Friar Bacon and Friar Bungay
Authors: Knight, Sarah Marie
Editors: Betteridge, T; Walker, G
Abstract: Robert Greene's The Honorable Historie of frier Bacon, and frier Bongay heralded the peculiar Elizabethan phenomenon of scholars on the commercial stage: like his fellow Cambridge graduate Christopher Marlowe's Doctor Faustus, Friar Bacon presents a half-fanciful, half-historicized academe, transforming experience of Elizabethan Cambridge into a theatrical vision of high medieval Oxford. Like many Elizabethan history plays among which Greene's Honorable Historie purports to belong, although set during the reign of the Plantagenet Henry III (r. 1216–72), Friar Bacon frequently refers to contemporary institutional preoccupations, but unusually, rather than concentrating on institutions like the court, legal system, or church, Greene's concerns are for educational institutions. Greene mixes his sources idiosyncratically to construct his play, and these range from texts with an institutional purpose, like progress narratives and university statutes, to more concertedly entertaining literary forms, such as the vernacular chapbook. His diversity of sources knits into a richly textured representation of the worlds on which the various texts touch.Wed, 14 Jan 2015 14:42:25 GMThttp://hdl.handle.net/2381/314232015-01-14T14:42:25ZMilton and the Idea of the Universityhttp://hdl.handle.net/2381/31407
Title: Milton and the Idea of the University
Authors: Knight, Sarah Marie
Abstract: This study of Milton's representation of academic experience looks particularly at his Latin Prolusions, orations delivered while a student at Cambridge during the late 1620s and early 1630s. The Prolusions blend speculative, satirical, and expository writing, collectively marked by mastery of rhetorical technique and unevenness of tone from speech to speech. Here Milton first discusses the proper management of a young man's education, and the university's function (or not) as a stimulating context for personal development. A comparison of these early discussions with Milton's other depictions of Cambridge in the Latin elegies, and also with his imaginary academies created in Of Education and Paradise Regained furnish an informative position developed over an extended period of time.Tue, 13 Jan 2015 10:32:58 GMThttp://hdl.handle.net/2381/314072015-01-13T10:32:58ZChilde Harold's Pilgrimage : Lord Byron and the Battle of Waterloohttp://hdl.handle.net/2381/31359
Title: Childe Harold's Pilgrimage : Lord Byron and the Battle of Waterloo
Authors: Shaw, Philip John
Editors: Lobbenberg, A.
Abstract: "Professor Philip Shaw traces the influence of the Battle of Waterloo on the third canto of Childe Harold's Pilgrimage, considering how Byron uses it to explore ideas of violence and sacrifice."Thu, 18 Dec 2014 14:34:23 GMThttp://hdl.handle.net/2381/313592014-12-18T14:34:23ZAn Introduction to 'Tintern Abbey'http://hdl.handle.net/2381/31358
Title: An Introduction to 'Tintern Abbey'
Authors: Shaw, Philip John
Editors: Lobbenberg, A.
Abstract: "Professor Philip Shaw considers the composition of 'Lines written a few miles above Tintern Abbey', and explains how Wordsworth uses nature to explore ideas of connection and unity."Thu, 18 Dec 2014 14:29:36 GMThttp://hdl.handle.net/2381/313582014-12-18T14:29:36Z'Shocking Sights of Woe': Charles Bells and the Battle of Waterloohttp://hdl.handle.net/2381/31357
Title: 'Shocking Sights of Woe': Charles Bells and the Battle of Waterloo
Authors: Shaw, Philip John
Editors: Bonehill, J.; Quilley, G.
Abstract: In the summer of 1815, a party of English tourists set out by
voiture
from Brussels to
the field of Waterloo, scene of the recent defe
at of the Imperial French army under the
command of Napoleon Bonaparte. The ten
-
mile journey afforded numerous
opportunities for picturesque reflections on the Flemish landscape; passing through
Soignes, for example, the ancient forest whose trees provided
a canopy from the glare
of the August sun, the travellers may have recalled the literary associations with
Boiardo’s
Orlando
and Shakespeare’s
As You Like It. As many of the recently
published guides to Waterloo took pains to point out, the felt contrast
between the
pastoral charms of the countryside and the grotesquerie of battle was an especially
significant part of the Waterloo pilgrimage.
Lulled into a state of repose under the
shadows of the beech trees, the pilgrims could be forgiven for failing to
detect the first
bracing evidence of the effects of combat: fragments of paper from service books,
torn letters, scraps of clothing, wheel ruts and the sickly, sweet odour of unburied
flesh. In due course, however, the tourists would prepare their scented
handkerchiefs,
taking note, as the guidebook advised, of the affecting contrast between the verdure of
Soignes and the coming scenes of despoliation. But standing as a buffer between the
bucolic and the tragic is the mart, specifically the benches, tables
and groundsheets on
which the enterprising villagers of Waterloo displayed their wares. Alighting from the
carriage, the tourists would be enticed to purchase a little piece of the battle: buttons,
breastplates, sabres, caps, buckles, and other, less allu
ring objects: a calcified finger
bone, a wooden denture, the tattered remains of a book of French
chanson
. To the
would
-
be consumer of war, the field of battle speaks in broken accents, appealing for
narrative completion, invoking a sense of lost totality.
As the objects in the mart
confirm, pathos is the currency of the battlefield experience, enabling the purchaser to
exchange one set of values, the sympathetic detachment of the non
-
combatant, for
another, the empathic identification of the virtual warrio
r. With that little piece of the
real to hand,
and with the guidebook and peasant guide to show the way (John Da
Costa, Wellington’s guide on the day was the preferred choice), the visitor was now
prepared to enter the field of battle. [Opening paragraph]
Description: Full text of this item is not currently available on the LRA. The final published version may be available through the links above.Wed, 17 Dec 2014 16:53:16 GMThttp://hdl.handle.net/2381/313572014-12-17T16:53:16ZMilitancy, commitment and Marxist ideology in the fiction of Dan Billanyhttp://hdl.handle.net/2381/30296
Title: Militancy, commitment and Marxist ideology in the fiction of Dan Billany
Authors: Cloutier, Stephen.
Abstract: Dan Billany (1913-1943?) published only four novels, yet in those novels he engages in the debates that preoccupy Britain in the 1930s and 1940s. Billany's view of the period, however, differs from that of his more famous contemporaries. As a young working class man, he challenges contemporary assumptions about this literary period, arguing that the more bourgeois writers have a false view of the working class. This study aims to recast the political and literary memory of the 1930s and 1940s in order to show how a young working class writer from the North of England defines and shapes Marxist and literary tradition to further his revolutionary ideals. The ultimate goal of this dissertation is to provoke the debate that will give Billany, badly underrated, the attention he deserves.;Due recognition of his fiction will help to expand the critical view of the 1930s and 1940s. Billany actively engages not only with the period but with those writers who have traditionally been seen as defining that literary period. His attacks on writers such as John Galsworthy and W.H. Auden show that Billany is trying to develop a truly radical Communist working class literary tradition. As an educated working class man and a committed Communist, Billany offers an alternative view to the traditional and conservative attitudes associated with pre-war and wartime writing.Mon, 15 Dec 2014 10:37:59 GMThttp://hdl.handle.net/2381/302962014-12-15T10:37:59ZChaucer's dream visions : courtliness and individual identityhttp://hdl.handle.net/2381/30293
Title: Chaucer's dream visions : courtliness and individual identity
Authors: Hagiioannu, Michael Costas.
Abstract: This thesis presents a reading of Chaucer's dream visions in their philosophical, religious and secular contexts. It traces the poet's discussion of individual subjectivity, vis-a-vis the conventions of courtliness, in the Book of the Duchess, the House of Fame, the Parliament of Fowls, and the Legend of Good Women.;Unlike the 'playful', and elliptical poet of many recent studies, this thesis presents a Chaucer who was fully engaged with the important moral and philosophical issues of his age. By drawing upon Aristotelian psychology, derived from his reading of Boethius, Dante and the poets of the French court, Chaucer was able to articulate precisely which aspects of the courtly identity are determined by language and empirical experience, and which parts are transcendent of this determinism. Engagement with the dream visions thus enabled the reader to recognise those aspects of courtliness which assist his or her ethically informed autonomy, and those which compromise it. A detailed engagement with the literature, language, and behaviour of the court then takes place in the dream visions, which are a genuine exploration of individual subjectivity yet still remain socially aware. The motivation for this exploration is shown to be a product of both the author's Christian beliefs and his identity as a courtly poet. Religious sensibility and the demands of courtly society are shown not to be mutually exclusive but rather the source of urgent and productive dialogue.Mon, 15 Dec 2014 10:37:59 GMThttp://hdl.handle.net/2381/302932014-12-15T10:37:59Z'immaculately pure and very high in tone' : proto-feminism in the novels of Rosa Nouchette Careyhttp://hdl.handle.net/2381/30294
Title: 'immaculately pure and very high in tone' : proto-feminism in the novels of Rosa Nouchette Carey
Authors: Hartnell, Elaine Marie.
Abstract: This thesis constitutes the first in-depth study of the forty-one largely-forgotten 'domestic' novels of Rosa Carey [1840-1909]. Jane Crisp's pioneering monography on Carey combines a useful essay on the major themes in the novels with extensive bibliographies of Carey's work and other related material. However, this thesis is the first extended treatment of the novels to place them in their historical context and to apply to them to a variety of theoretical readings. Thus, it is germane to the feminist project of 'rediscovery'.;However, the work also dovetails into existing scholarship in that it begins to chart an area as yet only hinted at by others. Recent ground-breaking work relating to the 'domestic sphere' has focused upon three areas: the subversive genres of sensation novel and novels about the 'New Woman' [as does Lyn Pykett in The Improper Feminine]; historical explorations of the lives of women who wished to escape from the domestic sphere into remunerative employment of alternative communities [as exemplified by Martha Vicinus' Independent Women]; and work on texts of domesticity from the first half of the nineteenth century [especially Nancy Armstrong's Desire and Domestic Fiction]. The first two of these areas cover the period explored by this thesis but do not focus directly upon the construction and function of the normative domestic; the third gives an account of the rise of 'domesticity' but ends just before the age of the domestic novel proper. Research in all of these areas places at the periphery what this thesis places at the centre.;Finally, the thesis has something new to say in theoretical terms. The exciting work of Jean-Francois Lyotard, which has thus far been appropriated by the Postmodernists, has been used to illuminate the literature and society of the late-nineteenth and early-twentieth centuries.Mon, 15 Dec 2014 10:37:59 GMThttp://hdl.handle.net/2381/302942014-12-15T10:37:59ZKipling's empire : the social and political contexts of the shorter fiction 1886-1906http://hdl.handle.net/2381/30292
Title: Kipling's empire : the social and political contexts of the shorter fiction 1886-1906
Authors: Hagiioannu, Andrew Sophecleous.
Abstract: The thesis explores the relation between Kipling's shorter fiction and the various cultural and political environments in which he wrote - from the Punjab, to Vermont, the Cape of Africa, and Sussex, England. After considering the problems of Kipling criticism past and present, the early chapters trace the European philosophical basis of administrative methods in the Punjab, and, in turn, the influence of the forms and languages of government upon Kipling's writings.;Outlining the intellectual and political confrontations of British India, the initial parts of the thesis highlight the resistance of the Punjab, and Kipling's writings, to Liberal reform and its utilitarian emphasis. The middle chapters cover the Vermont years, discussing the relation of the stories to an American political context riven by social division - between the industrial East and the rural West, and the various factions of a newly modernised and emergent international power. The fiction is shown to engage with the confrontation between the agrarian Populism of the West and the hegemony of Wall Street, opposing the political influence of rogue speculators and financiers in late nineteenth-century America. The American experience also contextualises the celebration of the fortitude, asceticism, and selflessness of the British empire in the Indian stories of the period.;Later chapters consider the impact of the Boer War upon Kipling's work, revealing how, in the areas of race, religion and culture, the war in South Africa precipitated a crisis of representation for British imperialists, which is reflected in Kipling's poetry and contributed to a change of focus in the stories. The final two chapters discuss Kipling's ambivalent response to social reform and modernisation in Edwardian England, citing medical and scientific works to illustrate how the stories play an influential part in, and are often cynical about, the re-emergence of a national bucolicism in the early years of the century.Mon, 15 Dec 2014 10:37:59 GMThttp://hdl.handle.net/2381/302922014-12-15T10:37:59ZThe representation of animals and the natural world in late-medieval hagiography and romancehttp://hdl.handle.net/2381/30295
Title: The representation of animals and the natural world in late-medieval hagiography and romance
Authors: Salter, David.
Abstract: This thesis takes as its subject the representation of animals and the natural world in two key genres of medieval literature: hagiography and romance. Focusing on the early Lives of St. Francis of Assisi, the romances Sir Gowther, Octavian, and Sir Orfeo, the Middle English Alexander Romances, and the Collatio Alexandri cum Dindimo, it examines the diverse ways in which animals are portrayed in these texts, and the range of mimetic, symbolic, and representative functions that they fulfil. Rather than endorsing the view that medieval culture was characterised by a unified and homogenous attitude towards nature and the natural, the thesis draws out the diversity of opinion and outlook evident in the imaginative literature of the period, and demonstrates in detail the crucial role of genre in determining the representative strategies of individual texts.Mon, 15 Dec 2014 10:37:59 GMThttp://hdl.handle.net/2381/302952014-12-15T10:37:59ZThe narrative structures of Robert Graves' historical fiction : a progression toward a conception of the hero in historyhttp://hdl.handle.net/2381/30291
Title: The narrative structures of Robert Graves' historical fiction : a progression toward a conception of the hero in history
Authors: Firla, Ian.
Abstract: Most commentators on Robert Graves' writings agree upon the importance of his ideas on mythology to the development of his unique theories on poets and poetry. Few critics have undertaken to apply the same approach toward an understanding of his fiction. This thesis undertakes to fill that gap by investigating Robert Graves' historical fiction in order to test whether his theories on mythology and poetry can also be found to play a part in his conception of history and historical legends. To that end, Graves' historical novels have been analysed from various narratological perspectives in order to uncover the often complex relationship between the author, his narrators, and the reader.;Robert Graves' heroes as autobiographers, and narrators as biographers, are found to suffer psychological neuroses that are usually the result of an overly acute awareness of history. They seem to be aware of the process by which actions and events are ascribed mythic qualities which pollute the story of their real lives. Some of Graves' heroes fall victim to this process whilst others attempt to gain from it. Invariably, as the thesis demonstrates, they all fail because they lack an awareness of the single true story to which Graves himself subscribed: that of the White Goddess.Mon, 15 Dec 2014 10:37:58 GMThttp://hdl.handle.net/2381/302912014-12-15T10:37:58ZThe feminist postmodern fantastic : sexed, gendered, and sexual identitieshttp://hdl.handle.net/2381/30290
Title: The feminist postmodern fantastic : sexed, gendered, and sexual identities
Authors: Denby, Michelle.
Abstract: The thesis investigates a diverse range of feminist postmodern philosophy, distinguished by its varying rearticulation of the relationship between modernism and postmodernism and feminism's own position vis-a-vis that debate. Drawing on postmodernism's primary tenet that substantive, binary identity categories comprise discursive, performative constructs, feminist postmodernism theorises a range of strategies for their subversive re-performance. This is realised in the mobilisation of parodic, "failed" repetitions and identities embodied, for instance, by transsexual, transgender, and transvestite personae. Hence the reformulation of postmodern versions of agency, resistance, and choice. In the second instance, the thesis examines the combination of feminist postmodern philosophy with the narrative techniques of postmodernism and its sister genre, the fantastic mode. As a heterogeneous, open-ended, self-reflexive form, the "postmodern fantastic" challenges conventional realism and its correlative sovereign subject. The postmodern fantastic is redeployed by feminist practitioners, whose inscription of both textual and topographical re-performance, such as is manifest in the cyborg and the grotesque, represent the literary counterparts of feminist postmodern agency. The above provide critical contexts for a reading of four late-twentieth-century women writers, focusing in particular on their intervention in the modernism/postmodernism debate and their deployment of the feminist postmodern fantastic as a means of destabilising sexed, gendered, and sexual identity. The selected authors - Helene Cixous, Monique Wittig, Jeanette Winterson, and Angela Carter - represent distinct and diverse, culturally specific, literary and feminist traditions, reformulating the relationship between modernism and postmodernism in different ways and with varying degrees of success. They coalesce, however, in their contribution to the feminist postmodern fantastic. It is the general purpose of the thesis to demonstrate how this particular mode embodies one of feminist postmodernism's most rx>werful means of literary and ideological critique.Mon, 15 Dec 2014 10:37:58 GMThttp://hdl.handle.net/2381/302902014-12-15T10:37:58ZMoral realism : an anti-projectivist account of moral values as aspects of the manifest imagehttp://hdl.handle.net/2381/30289
Title: Moral realism : an anti-projectivist account of moral values as aspects of the manifest image
Authors: Fearn, Joseph.
Abstract: This thesis will argue that a significant part of our moral experience can be explained by an analogy with the phenomenon of aspect perception discussed by Wittgenstein in his Philosophical Investigations. I will argue that projectivism cannot give a satisfactory account of moral perception. This difficulty constitutes an argument against projectivism; namely that projectivism is hopeless as an account of the phenomenology of morality, because it is at variance with the way we actually think and talk morally. It will be shown how quasi-realism is an attempt to remove the most important range of objections to projectivism - namely that it cannot account for the phenomena of serious moral thought and talk. I argue that the project of quasi-realism ultimately fails, leaving realism as the theory most able to account for our moral experience.;I shall reveal the untenable assumptions of the 'Absolute' viewpoint entailed by the non-realist arguments of J.L. Mackie, and reveal the perpectival outlook that lies behind an aspect-seeing account of moral perception, and also illuminate why the key issue for moral realism is the question of whether we can establish moral objectivity. I shall then go on to say how much objectivity is possible. Finally, I shall show how a Wittgensteinian analogy between moral values and aspects helps to explain our common moral experience. The ability to perceive moral values will be shown to be tied in with the concept-dependency of moral perception, relying on discriminations that can only be made through the use of language, and hence through a shared form of life. The account will be shown to be fully capable of giving an account of our common moral experience.Mon, 15 Dec 2014 10:37:57 GMThttp://hdl.handle.net/2381/302892014-12-15T10:37:57ZMalfunction of the deity : the work and thought of Philip K. Dickhttp://hdl.handle.net/2381/30288
Title: Malfunction of the deity : the work and thought of Philip K. Dick
Authors: Ruppenthal, Ed
Abstract: The root of Malfunction of the Deity is Dick's own conception of and justification for God or for a 'Creator entity'. The thesis shows that Dick's primarily dualistic cosmological ideas, as expressed in his science-fiction and personal writings, possess as their nucleus the belief that the human world is flawed through the machinations of a malignant being or agency. This agency begins in many of his stories as a loosely ideated construct, but one which in most cases will metastasise and recreate the human world as an illusory manufactory over which evil holds sway, and against which the smaller forces of good are forced to struggle. The thesis presents Dick as a liberal philosopher and theologian whose pseudo-didactic approach draws from a variety of extant historical, sociological and especially theological sources that inform both his science-fictional and his non-fictional work. Analysis of Dick's writing and mystical thought, identifies Dick as an intellectual presence within the genre of science-fiction and the field of American literature, and the thesis also contemporises Dick with other American science fiction authors. Major works---including A Scanner Darkly (1977), Do Androids Dream of Electric Sheep? (1968), The Man in the High Castle (1962), The Three Stigmata of Palmer Eldritch (1965), Ubik (1969) and Valis (1981)---are analysed in detail.;The crux of the thesis resides in Chapter Two, a representative study of the period February to March 1974. Dick's own shorthand of '2-3-74' is used to refer to this period, during which he suffered a mental breakdown and/or underwent a series of mystical experiences that he often interpreted as divine revelation. Critics have suggested 2-3-74 shaped and informed the themes in his post-1974 work, but part of the purpose of this thesis is in exposing the fact that those themes are explicit in Dick's earliest fiction, dating back to the 1950s.Mon, 15 Dec 2014 10:37:57 GMThttp://hdl.handle.net/2381/302882014-12-15T10:37:57ZTranscending boundaries : modern poetic responses to the cityhttp://hdl.handle.net/2381/30287
Title: Transcending boundaries : modern poetic responses to the city
Authors: Almasalmeh, Bassel
Abstract: This thesis examines poetic representations of the city in the works of T.S. Eliot, William Carlos Williams, Roy Fisher, Iain Sinclair, and Aidan Andrew Dun. Chapter One discusses Eliot's vision of the city, arguing that Eliot was always seeking new ways for forming urban imagery. Concentrating on the relation between poetic form and urban images, I look at Eliot's poetry including his unpublished poems to highlight how modernism, form, and the city inform one another. Chapter Two examines briefly Williams's response to Eliot's vision of London in The Waste Land, highlighting the contrast between Eliot's cosmopolitanism and Williams's localism/ provincialism. Exploring the relation between Williams's representation of Paterson in Pater son and Roy Fisher's poetic representation of Birmingham in City and A Furnace, I reveal that Fisher adopts Williams's approach to the city but subsequently diverges from it thus creating a new urban poetics. Chapter Three investigates Iain Sinclair's visionary representation of London in Lud Heat in conjunction with Lights Out for the Territory, and I examine Sinclair's notion of the city as a text. I argue that Sinclair's textual representation of London gives a new meaning to the relation between poetry and the city. I also look at Sinclair's rewriting of the flaneur as a strategy to elide the boundaries between real and imagined spaces. Chapter Four concentrates on Aidan Andrew Dun's representation of London in his long poem Vale Royal, and I look at Dun's use of the two romantic poets (William Blake and Thomas Chatterton) as a strategy to revive the city's metropolitan history. I compare Dun's vision of London with that of Sinclair and Eliot, stressing how Dun engages in rewriting modernism's definitive view of the city.Mon, 15 Dec 2014 10:37:57 GMThttp://hdl.handle.net/2381/302872014-12-15T10:37:57ZA secular gospel : Dickens on work and working liveshttp://hdl.handle.net/2381/30286
Title: A secular gospel : Dickens on work and working lives
Authors: Louttit, Christopher
Abstract: Critics often straightforwardly align the attitude to work in Dickens's writings with the earnest values of his era. This thesis questions the accuracy of such an assumption it argues, as a result, that Dickens is not, to a great extent, concerned with the abstract or concrete details of work, and stresses instead that he is interested in more sceptically exploring its human dimension. A representative selection of the major novels from different phases of Dickens's career including, but not limited to, The Pickwick Papers, David Copperfield, Bleak House and Our Mutual Friend, is re evaluated in pursuing this claim. Fresh light is thrown on this familiar terrain by discussing the fiction in several specific contexts. Detailed reference to contemporary writing on the subject is made throughout, and includes both the works of well-known figures such as Thomas Carlyle, John Ruskin and Henry Mayhew, and other varied sources, ranging from medical texts and primers to household manuals. Full consideration is given, moreover, not just to the novels, but also to the reinterpretation of biographical materials, and to Dickens's shorter fiction, travel writing and a pertinent selection of journalistic writings from the Morning Chronicle, Household Words and All the Year Round. Reconsidering Dickens's position on the topic also challenges other preconceptions about his work. The notion that gender roles are at all fixed in the novels, for instance, is questioned, thus subtly altering recent work done by feminist critics. The last two chapters of the thesis are concerned not with work, but with idleness and repose the surprising discovery that Dickens's biographical and fictional response to idlers and idling is more generous than previously thought opens up a new perspective on his views on work, and finally underlines the fact that his engagement with the issue is much more than just a muffled echo of the gospel of work.Mon, 15 Dec 2014 10:37:56 GMThttp://hdl.handle.net/2381/302862014-12-15T10:37:56ZAgamemnon and after : the 'lost cause' that became the Oxford Playhousehttp://hdl.handle.net/2381/30285
Title: Agamemnon and after : the 'lost cause' that became the Oxford Playhouse
Authors: Chapman, Don
Abstract: For the first time this thesis traces the history of the Oxford Playhouse from its beginning to the present day. I call it Agamemnon and After... the 'lost cause' that became the Oxford Playhouse because it was a production of Aeschylus's tragedy in 1880 by a student, Frank Benson, later one of Britain's foremost Shakespearean actor-managers, which led - fortuitously - to the theatre's launch in 1923. Since J.B. Fagan staged the first successful production of Chekhov in England in 1925 most directors have contributed to Britain's dramatic heritage. Even the happy-go-lucky Stanford Holme, who took the Playhouse downmarket in the 1930s, has his niche in history for taking theatre to the people during the Second World War. A few, like Peter Hall, have achieved international stature. Yet the Playhouse itself, though historians often mention it in the same breath as pioneers of the repertory movement like Birmingham and Liverpool, has never received full recognition - in part because its own records before 1956 have vanished, in part because of its ambivalent relationship with Oxford University. By leafing through old journals, collecting documentary evidence, including missing programmes, and interviewing as many people as I can, I have pieced together the story of the last 83 years. It has many surprising twists, but most fascinating, and complex, is the role the university has played, or rather failed to play. Central to my thesis is the contention that even from 1961 to 1987, when the Playhouse was the University Theatre, it was an ill-starred partnership: as I put it when I was Oxford Mail theatre critic, a shotgun marriage that ended in a messy divorce.Mon, 15 Dec 2014 10:37:56 GMThttp://hdl.handle.net/2381/302852014-12-15T10:37:56ZModern women's poetry 1910-1929http://hdl.handle.net/2381/30283
Title: Modern women's poetry 1910-1929
Authors: Dowson, Jane.
Abstract: In tracing the publications and publishing initiatives of early twentieth-century women poets in Britain, this thesis reviews their work in the context of a male-dominated literary environment and the cultural shifts relating to the First World War, women's suffrage and the growth of popular culture.;The first two chapters outline a climate of new rights and opportunities in which women became public poets for the first time. They ran printing presses and bookshops, edited magazines and wrote criticism. They aimed to align themselves with a male tradition which excluded them and insisted upon their difference. Defining themselves antithetically to the mythologised poetess; of the nineteenth century and popular verse, they developed strategies for disguising their gender through indeterminate speakers, fictional dramatisations or anti-realist subversions.;Chapter Three explores the ways in which women's poems of the First World War register the changing ideologies of gender and nationalism. Chapter Four identifies a 'conservative modernity' in women who avoided femininity, through universal speakers and the conventional forms of male-associated traditions, but there is also a covert woman's agenda, particularly in the love lyrics of Vita Sackville-West.;The remaining chapters recognise women's participation in modernist innovation through radical aesthetics or radical subject matter. In 'The British Avant-Garde', the most significant experimentalist in Edith Sitwell, but the less well-known work of Nancy Cunard, Iris Tree and Helen Rootham, is also considered. Chapter Six, 'The Anglo-American Avant-Garde', includes American women who lived in Britain or who were indirectly influential through the network of writers in London, Paris and New York: H.D., Amy Lowell, Gertrude Stein, Laura Riding, Marianne Moore and Mina Loy. The final group of 'Female Modernists', Charlotte Mews, May Sinclair, Edna St. Vincent Millay, Anna Wickam and Sylvia Townsend Warner, project a feminist consciousness in negotiation with poetic formalism. They indicate women's progress towards a new self-asserting aesthetic.Mon, 15 Dec 2014 10:37:55 GMThttp://hdl.handle.net/2381/302832014-12-15T10:37:55ZReligion, gender, genre : nineteenth-century women's theologyhttp://hdl.handle.net/2381/30284
Title: Religion, gender, genre : nineteenth-century women's theology
Authors: Styler, Rebecca
Abstract: This thesis considers how women in the nineteenth century used a variety of literary genres to write theology, when formal theological channels were closed to them. Each chapter considers a different literary genre and different writers. Features of genre are foregrounded as I consider how each writer constructs meanings and addresses her audience, and what the implications were for them as women writing this way. It departs from the specifically feminist approach of many studies of women's theology, to explore a range of women's attempts to find an adequate spirituality. Emma Jane Worboise's popular novels and biography of Thomas Arnold construct parables in which 'feminine' Christian values are extended to the public world. The poetry of Anne Bronte debates with Calvinism, and with the Romantic and Evangelical ideals of intense personal communion with the divine. Harriet Martineau creates a religion for middle-class liberals through her essays for the Unitarian periodical the Monthly Repository. She embodies a new model of a theologian who has earned her authority through the press. The autobiographies of the intellectuals Frances Power Cobbe and Annie Besant also do this, as they present themselves as creators of post-Christian theologies. Autobiographies by Margaret Howitt and Margaret Oliphant rather evaluate the emotional adequacy of belief. Other writers anticipate some late twentieth-century developments in theology. The writers of collective biography, while addressing distinctly Victorian gender issues, also offer a form of feminist Bible criticism. Josephine Butler creates a 'liberation' theology in her political speeches against legalised prostitution. The perspective of women's theology, expressed in literary forms, brings to light writers who, while forgotten today, were significant in the nmeteenth-century context. It also enables a new appreciation of authors who are better-known for other achievements.Mon, 15 Dec 2014 10:37:55 GMThttp://hdl.handle.net/2381/302842014-12-15T10:37:55ZThe twilight of the gods : the poetics of a post-mythic agehttp://hdl.handle.net/2381/30282
Title: The twilight of the gods : the poetics of a post-mythic age
Authors: Freer, Scott Edward
Abstract: This thesis attempts to define a tradition of post-mythic literature. It aims to demonstrate that Nietzsche's claim that in a secular world God is dead, yet we continue to live under the shadow of myth. Each chapter is a detailed analysis of a key writer's ambivalent attitude towards the poetics and metaphysics of myth. Shakespeare's Titus Andronicus demonstrates how two methods of reading a violent Ovidian tale anticipates a progressive or regressive use of myth in the twentieth century. This can be seen in Nietzsche's Thus Spake Zarathustra which reveals a need to overcome myth as a dogmatic metaphor. On the other hand, T.S. Eliot's 'The Waste Land' expresses the nihilistic despair of an age severed from the symbolic roots of traditional mythology. In the twentieth century the notion of myth is bound up with contrary forces, and Conrad's Heart of Darkness helped to establish a myth of the divided self to metaphorically displace the horror of human violence within a civilizing system. Against a context of systematic or over-transcribing rationality, Kafka's work returns to a mythic use of animals to preserve a sense of the scared within the existential self. Wallace Stevens and Bob Dylan, demonstrate how a return to faith is linked to an aesthetic that is deeply embedded within the metaphysics of God.Mon, 15 Dec 2014 10:37:55 GMThttp://hdl.handle.net/2381/302822014-12-15T10:37:55ZThe Authority of Saints and their makers in old English hagiographyhttp://hdl.handle.net/2381/30281
Title: The Authority of Saints and their makers in old English hagiography
Authors: Watson, Claire Louise
Abstract: The miracles performed by saints in Old English hagiography provide the starting point for this thesis, and serve as a route into exploration of wider issues within the saints' lives. The thesis is structured around a series of case studies based on the classifications of sanctity found in the Anglo-Saxon Litanies, with chapters on Virgins, Confessors, Martyrs and Apostles, which explore the presentation of miracles in an AElfrician and anonymous life of each type of saint. Each case study assesses the manner in which the Latin biographies of established saintly figures are handled by their vernacular translators, and the potential agenda of Old English hagiographers suggested by this treatment.;The manipulation of Latin tradition in the lives is revelatory regarding perceptions of authorship and sanctity in the early medieval period, and questions of textual and divine authority are raised in the analysis of each hagiography. The exploration of miracles is framed by the assessment of these two interrelated concepts within the lives. Assessment of inscribed authority centres on the textual and personal authority advocated by the author of the saintly biography, investigating their claimed and actual adherence to tradition and attitudes to orthodoxy. Exploration of divine authority assesses the validation a saint is said to receive from the Lord in their biography, for which the performance of miracles can serve as a primary channel. The thesis explores the relationship between these kinds of authorization, and the different approaches to these notions found in the AElfrician and anonymous corpora. It argues that suggestive differences exist between AElfrician lives and the anonymous corpus in these areas, and suggests that AElfric's treatment of saints' miracles was intended to further the spiritual wonders he envisaged himself to be enacting.Mon, 15 Dec 2014 10:37:54 GMThttp://hdl.handle.net/2381/302812014-12-15T10:37:54ZW.M. Thackeray and the tradition of English comedyhttp://hdl.handle.net/2381/30279
Title: W.M. Thackeray and the tradition of English comedy
Authors: Amoroso, Angelica Anna.
Abstract: This thesis is about Thackeray and the comic tradition in the plays and novels of the seventeenth and eighteenth centuries. It aims at showing that a study of Thackeray's fiction and its connection with the comedy of the past contributes to an understanding of the sophistication and subtlety of his comic vision. In his fiction Thackeray takes some of the comedic conventions of the tradition, though in some respects he also departs from them, expanding, developing and applying them to his time to make ironic comments on the inconsistencies and follies of English society from the eighteenth to the mid-nineteenth century. In the early and central stage of his career as a novelist he adheres to the comic tradition, yet he also introduces unconventional elements, while in the later phase occasionally he detaches himself from it temporarily, but never completely. This study examines the Thackeray's major works of fiction in chronological order, because it allows us to trace a development of his comic perspective, his narrative technique and his concerns through time. Each chapter deals with a single work of fiction, except Chapter 1 and Chapter 8. A selection of his illustrations, which offer visual comments on the story, will also be analysed; they have various purposes and integrate with the text, adding subtlety and sophistication to the author's vision. Thackeray's comic perspective is a complex combination of satire and sentimentality where the two aspects often overlap and generate ambiguity and challenge for the reader. But, ultimately, this thesis reveals that towards the end of his life the writer enriches his vision considerably by adding tragic elements in alignment with comic ones, and that he was turning to a new direction: he was embracing the tragicomic.Mon, 15 Dec 2014 10:37:53 GMThttp://hdl.handle.net/2381/302792014-12-15T10:37:53ZRootless experiences : the importance of spatial understanding in the writing of V. S. Naipaulhttp://hdl.handle.net/2381/30280
Title: Rootless experiences : the importance of spatial understanding in the writing of V. S. Naipaul
Authors: Nishi, Makiko
Abstract: This thesis examines the works of V.S. Naipaul (1932--), a Trinidad born writer who has been settled in England since 1950. Naipaul is dislocated both from his ancestral motherland of India and from his home, Trinidad. Because of this doubly uprooted condition, the idea of rootlessness is essential to discussion of the author. This theme of rootlessness is one of the main subjects in my argument. In pursuing my argument, I will be particularly attentive to issues of space, which has inspired burgeoning interest and debate since the late 1960s in the humanities and social sciences.;The first three chapters deal with Naipaul's fictional narratives, examining his differing treatments of the settings of Trinidad, metropolitan cities, and the former colonies. The fourth chapter will discuss Naipaul's two narratives about Trinidad's history, which reveal his skilful manoeuvring of spatial concepts for the benefit of the West Indies or Trinidad Indians. The fifth chapter will discuss Naipaul's narrative in his travelogues and his accounts of his travel. Naipaul's travelogues cover locations worldwide. However, because of his particular way of looking, his travelogues show some recurrence of observation and themes. Consequently, there emerges a geographical pattern in his presentation of the world. The sixth chapter will pay attention to the autobiographical aspects of Naipaul's writing. It will discuss the relationship between Naipaul's works and his own movements as a rootless writer. Overall, the argument reveals Naipaul's ambiguity as due to being caught in the tension between the dichotomic view of the world created by the ideology of imperialism and the counter disposition of hybridity fostered by his own rootless experience.Mon, 15 Dec 2014 10:37:53 GMThttp://hdl.handle.net/2381/302802014-12-15T10:37:53ZA critical edition of Ford Madox Ford's "The questions at the well" (1893)http://hdl.handle.net/2381/30277
Title: A critical edition of Ford Madox Ford's "The questions at the well" (1893)
Authors: Chantler, Ashley.
Abstract: The thesis represents the first critical edition of Ford Madox Ford's first volume of poems, The Questions at the Well (1893), accumulating all relevant bibliographical material and providing an original methodology for the editing of literary texts. A long prefatory essay discusses the theory, practice and paradoxes of cutting-edge textual editing, e.g. types of intention, 'intentional error', authorial and editorial revision, forms of censorship, the 'ideal' text, 'final version', 'last version' and 'separate work', 'textual primitivism', hypertext, and New Historicism and the 'socialization' of texts. This essay provides the theoretical basis for the editorial procedure I have created, which rests on taking as reading text the first printed version, including probable errors (authorial or otherwise), and to use an extensive critical apparatus to register textual variants, to discuss cruces in the copy-text and to supply explanatory notes. The thesis also supplies details of the variant states in which the poems appeared, a 'Bibliography of Unpublished Poems', an 'Index of Titles' and an 'Index of First Lines'. This edition is the foundation for a larger project: the Complete Poems.Mon, 15 Dec 2014 10:37:51 GMThttp://hdl.handle.net/2381/302772014-12-15T10:37:51ZExploring literary impressionism : Conrad, Crane, James and Fordhttp://hdl.handle.net/2381/30276
Title: Exploring literary impressionism : Conrad, Crane, James and Ford
Authors: Weavis, Daniel.
Abstract: As a literary category, 'impressionism' has only recently begun to receive regular critical attention. Where impressionism is firmly enshrined in Art History, the term has often been thought redundant in literary criticism. Several scholars have attempted to define and defend impressionism as a literary phenomenon, and while the present study seeks also to bolster its status emphasising how it constitutes a crucial moment in the development of modern literature it also scrutinises the deeper implications of the aesthetic. It is, in addition, the first comprehensive exploration of the literary relationship between the fictional work of the four central exponents of literary impressionism in the English language: Joseph Conrad, Stephen Crane, Ford Madox Ford, and Henry James. Chapter One traces and summarises the aesthetic and cultural origins of literary impressionism. Chapter Two presents a working definition of impressionism, and considers the problems surrounding any such attempt. Chapter Three explores the unique and complex interaction between author, text and reader in impressionist fiction, and observes the potential contradictions involved. The moral and political capacity and alignment of the impressionist aesthetic are the subject of Chapter Four. Chapter Five examines the representations of, and implications for, identity, while Chapter Six develops the more radical implications of the fifth: investigating the consequences, opportunities and dangers of heightened subjectivity. The Conclusion locates the position and status of impressionism in literary history, looking beyond its relationship with modernism to anticipations of the theories and practices of our own time.Mon, 15 Dec 2014 10:37:51 GMThttp://hdl.handle.net/2381/302762014-12-15T10:37:51ZMoses Wallhttp://hdl.handle.net/2381/30278
Title: Moses Wall
Authors: Setright, E. Helen
Abstract: My purpose has been to discover and present all that is known of Moses Wall (16067-1664+). In approximately 62,000 words this study addresses the three main aspects of his work. 1 HOUSE OF LORDS DEPOSITIONS These documents were officially destroyed but secretly copied I found and examined them in the House of Lords archive. I present detailed considerations of the material and the implications of Moses Wall's close involvement with Sir Harry Vane, as messenger and as spy for the Independents. 2 TRANSLATION OF SPES ISRAELIS As a scholar and millennial idealist Moses Wall was the anonymous translator for the first English edition of Spes Israelis by the Dutch Rabbi Menasseh ben Israel. Responding to MP Edward Spencer's reply, the second edition contained a cogent and well-argued Discourse by Wall, establishing a rational and religious case for readmitting the Jews as citizens of England. I establish the context and consequences of this work. 3 CORRESPONDENCE with SAMUEL HARTLIB and JOHN MILTON Fourteen letters written by Moses Wall between 1652 and 1660 are available from the Hartlib archive. They offer political, personal and practical information, with rare insights into daily survival under the Commonwealth. In my work these letters are edited and examined as a body for the first time. Together with supporting detail from other sources I show how these offer a living record of the man Moses Wall and his achievement. I offer the possibility that these letters conveyed more than their immediate meaning. One single letter from Moses Wall to John Milton survives, well known and discussed by Milton scholars. In the context of other material here presented, this is perceived as a source of inspiration and influence from 1659 to1980.Mon, 15 Dec 2014 10:37:51 GMThttp://hdl.handle.net/2381/302782014-12-15T10:37:51ZThe other Gissing : short stories, essays and miscellaneous workshttp://hdl.handle.net/2381/30275
Title: The other Gissing : short stories, essays and miscellaneous works
Authors: Rawlinson, Barbara.
Abstract: The purpose of this thesis is to demonstrate how, over three separate phases, George Gissing transformed his relatively unremarkable early short stories into the uniquely individualistic tales that elevated his work in the eighteen nineties to the front rank of realistic short fiction.;Chapters one and two relate to Gissing's first venture into short fiction whilst living in America, which is notable for its accumulation of important themes that the author carried forward and repeatedly adapted to reappear in his later work. In order to establish its impact on subsequent work in terms of political and philosophical influence, chapter three studies the writer's non-fictional output following his return to England, while chapters four and five cover the same period with regard to his second phase of short fiction, focusing on causality as the dominating theme at this time.;The role of realism in Gissing's short work is addressed in chapter six and in chapter seven its application is demonstrated by means of an overview of the author's third phase of the genre. Chapter eight focuses on Gissing's writings on the work of Charles Dickens, while chapter nine follows a similar analytical pattern to chapters two and five. At this stage it is evident that the author's interest in the concept of causality as the major force in his short work has been overtaken by a more challenging preoccupation with the human psyche, thus introducing philosophical, sociological and psychological overtones to the writer's work. The final chapter aims to draw together all the threads that combined to establish Gissing as a major contributor to late nineteenth-century realism in the field of short fiction.Mon, 15 Dec 2014 10:37:50 GMThttp://hdl.handle.net/2381/302752014-12-15T10:37:50ZLibertinism and deism in Tristram Shandy and other writings of Laurence Sternehttp://hdl.handle.net/2381/30274
Title: Libertinism and deism in Tristram Shandy and other writings of Laurence Sterne
Authors: Patrick, Duncan W.
Abstract: This thesis explores and develops themes first outlined in my earlier MA dissertation, Two Sentimental Novels, and it should be noted that the argument set out in either study greatly augments and supports that of the other.;After a brief review of Sterne's life, looking particularly at his familiarity with libertines, the study moves on to consider the long critical tradition that has associated Sterne's work with libertine and deistic ideas. The same themes are described as they occur in a selection of illustrations, including those from an early pornographic edition of Tristram Shandy, and the first section concludes with a brief review of the way Sterne himself has been seen by various critics to be making subtle allusions to unorthodox sources. This section strenuously critiques the notion that Sterne's work can be regarded as an expression of his professed Anglicanism.;The second section first reviews three of Sterne's lesser-known compositions in which such ideas are also strongly noticeable, and after a short preamble on textual strategy, turns at last to Tristram Shandy. The remainder of the study comprises a close reading of the text, particularly those parts of it than deal with life at Shandy Hall. Close attention is paid throughout to chronology which is regarded as the dominant structuring principle, and mapped out fully in an appended table. This section offers a very radical reinterpretation of the text, challenging established ideas while noting many connections with the material explored in the first section. The argument accumulates and is presented as a series of character studies, each of which draws to its own conclusion, rather than towards a conventional concluding chapter.Mon, 15 Dec 2014 10:37:49 GMThttp://hdl.handle.net/2381/302742014-12-15T10:37:49ZLiterary Naturalism 1865-1940 : its history, influences and legacyhttp://hdl.handle.net/2381/30273
Title: Literary Naturalism 1865-1940 : its history, influences and legacy
Authors: Marriott, Laurence J.
Abstract: This thesis examines the emergence of literary Naturalism in France from its beginnings in the fiction and letters of the Goncourt brothers, the positivist philosophy of Auguste Comte, and the literary criticism of Hippolyte Taine. It then tracks the history and reception of naturalistic fiction in England. The second half concentrates on the rise of Naturalism as an American fictional form, from its beginnings in the 1890s through to critical acceptance and success in the first decade of the twentieth century. It then examines the reasons for the comparative success of American Naturalism at a time when naturalistic writing in Europe had become outdated. Literary criticism has been periodised throughout in order to demonstrate its influence on the canon and on the formation of genre. Chapter 1 emphasises that the thesis concentrates on literary history rather than on textual criticism. It also suggests a cultural materialist subtext in that the struggles faced by early naturalistic writers were often the result of opposition from reactionary politicians and Church groups rather than from literary critics. Chapter 2 has two purposes: first, it explicates the genesis of literary Naturalism in nineteenth-century France and puts it into a historical perspective. Second, it explores the way in which genre has influenced the way that critics and readers have perceived Naturalism as a development of the novel. It also examines the way in which Zola perceived genre and how he emphasised the importance of the novel as a social tool. Chapter 3 demonstrates the ways in which English writers developed their own form of naturalistic fiction, but lost momentum towards the end of the nineteenth century. It explores the difference between French and English attitudes towards fiction and suggests that different aesthetic values may be the key to these differences. Chapter 4 introduces early reactions to the fledgling American naturalist writers and the reactions of contemporary critics, such as Howells and James. It also emphasises the importance of Frank Norms's theoretical views on the future of the American novel and presents an overview of the influence of journalistic writing on fiction and the conflicts that this entailed. Chapter 5 focuses on the literary aesthetics found in the works of Norris and Dreiser and presents case studies of Sister Carrie and The Octopus. This chapter argues that The Octopus, in particular, should be read as a novel of aesthetics, and is Norris's most cogent statement of his theoretical stance on literature and criticism. Chapter 6 explores the growth of Naturalism as an American form. American writers adopted the broad philosophies of European Naturalism, and this chapter examines how they incorporated those ideas into an American cultural matrix that departed from the European model. The conclusion argues that Progressivism and the general will for reform were catalysts for the success of American literary Naturalism, and that the romantic language of naturalism lent itself to a national literature which dealt with such issues. Naturalistic techniques and perspectives were ideally suited to later novels of protest therefore, the genre was able to persist in an adapted form well into the 1930s.Mon, 15 Dec 2014 10:37:48 GMThttp://hdl.handle.net/2381/302732014-12-15T10:37:48ZWilliam Bodham Donne : portrait in a landscapehttp://hdl.handle.net/2381/30270
Title: William Bodham Donne : portrait in a landscape
Authors: Jones, T. Hughie.
Abstract: William Bodham Donne (1807-1882) was born in Norfolk, attended school in Suffolk and entered Cambridge University in 1824. Elected an 'Apostle', he went down without graduating, objecting to making the necessary religious subscriptions. Returning to Norfolk, and moving later to Suffolk, he began the career which would result in the writing over the years of eight books and 170+ articles in learned journals. Although a classical specialist, his range of interests was wide, reflected in his publications.;In 1852 he became librarian of the London Library and in 1857 the Lord Chamberlain's Examiner of Plays, a post he held until retirement in 1874. His evidence to the 1866 Select Committee of the House of Commons on theatrical licensing and censorship is central to an understanding of nineteenth century practice. While holder of the Examinership, he directed for a time the command performances at Windsor Castle, for which he was rewarded by Queen Victoria. In 1867 he composed his magnum opus, editing the correspondence of George III with Lord North.;He was the friend of many prominent literary figures of his day, including Bernard Barton, J W Blakesley, Edward Fitzgerald, J A Froude, J M Kemble, Charles Merivale, James Spedding, W M Thackeray, Richard Chenevix Trench, as well as the actress, Fanny Kemble, with all of whom he engaged in voluminous correspondence.;The thesis offers a portrait (not formal biography) in a landscape which is both geographical and intellectual. It reveals Donne as a kindly, discriminating literary critic, omnivorous in his reading, retiring in his habits, loyal to his friends. One of them wrote - 'Many men are liked, Donne is loved'.Mon, 15 Dec 2014 10:37:47 GMThttp://hdl.handle.net/2381/302702014-12-15T10:37:47ZGender issues in contemporary sermonshttp://hdl.handle.net/2381/30272
Title: Gender issues in contemporary sermons
Authors: Bainton, Christine.
Abstract: The purpose of this research was to examine gender issues in contemporary sermons. My sample consists of sermons delivered on BBC Radio 4 as part of acts of worship broadcast during 1993-4 which were examined to analyse how language, gender and power intersect to produce these discourses. In order to contextualize this material, chapter one focuses on the history of the sermon and its institutionalisation. Chapter two analyses the preachers' use of generic terms and their use of the second person plural mode of address. In chapter three, I examine the gendered illustrations offered in the sermon sample in order to investigate how they contribute to create alienating and exclusionary discourses.;Chapter four deals with the ways in which self-disclosure and the use of personal experience provide a means by which knowledge can be assimilated and transferred to others as well as acting as an inclusive mechanism in preaching. In chapter five, I demonstrate that metaphors have the potential to function as an inclusive device but that this influence may be negated if the gender content of the metaphor conveys gender-biases.;Chapter six centres on the form and structure of the sermons as a way of considering the issue of a participatory address. The conclusion focuses on the way in which aspects of the notions of inclusive language intersect with the ways in which authority is traditionally defined. This thesis demonstrates that contemporary broadcast sermons do not endeavour to reflect the demands for inclusive language or less authoritarian discourses which have been made by feminists and advocated by most denominations in the Christian churches.Mon, 15 Dec 2014 10:37:47 GMThttp://hdl.handle.net/2381/302722014-12-15T10:37:47ZThatcherism and the fiction of liberal dissent : the 'state of the nation' novel in the 1980shttp://hdl.handle.net/2381/30269
Title: Thatcherism and the fiction of liberal dissent : the 'state of the nation' novel in the 1980s
Authors: Begley, Jon.
Abstract: This thesis provides an examination of a revival of the 'state of the nation' novel in response to political and cultural conditions of Britain in the 1980s. Encompassing individual authors such as Ian McEwan, Martin Amis and Margaret Drabble as well as examples of campus fiction and zeitgeist personification, it analyses a variety of fictional critiques of Thatcherism and the 'enterprise culture'. It addresses both the cultural position of these works within the context of liberal dissent and the political implications of their fictional modes of opposition. Adopting the end of the post-war consensus and its cultural ideas as an informing framework, it investigates the ideological and aesthetic challenges posed by a period of social, economic and political transition. Drawing attention to the connections between the 'state of the nation', form, liberal realism and the idea of a common culture, it explores the engagement of these novels with the difficulties of representing, and responding to, the fractured condition of Britain in the 1980s. It identifies a series of narrative tensions that highlight an intensification of the traditional problems of delineating and encapsulating the 'nation'. Furthermore, these formal tensions are examined in relation to the political limitations of liberal-humanism and the discordance between consensus ideals and the ideological and cultural directions of the decade. Ultimately, this thesis evaluates the cogency of these fictional expressions of liberal dissent in the context of the 1980s and addresses the question of whether the 'state of the nation' novel remains an adequate aesthetic framework for the analysis, and critical dissection, of contemporary Britain.Mon, 15 Dec 2014 10:37:47 GMThttp://hdl.handle.net/2381/302692014-12-15T10:37:47ZThe explicable and the inexplicable : Gothic manifestations in four of Thomas Hardy's novelshttp://hdl.handle.net/2381/30271
Title: The explicable and the inexplicable : Gothic manifestations in four of Thomas Hardy's novels
Authors: Liljedahl, Jane Louise.
Abstract: In this thesis I will examine how Hardy uses Gothic manifestations within his novels to allude to the inexplicable-objects and events that defy rational explanation. The Gothic is a medium of faith that alerts us to the mysterious unknown that is real, but elusive, gesturing toward a reality that is not itself. By acknowledging the non-rational, the Gothic liberates feelings and emotions, leading to an expansion of consciousness with no restrictions or boundaries. In turn, Gothic literary themes, tropes, and representations offer limitless possibilities that evade language. Unable to express his quasi-religious intuitions in a scientific, philosophical or religious creed, Hardy used the crude machinations of Gothic literary convention to express these intuitions.;By introducing examples of Gothic writing in Hardy's novels and comparing them with conventional Gothic literature, I will provide a general overview of how Hardy utilises Gothic conventions to express his own sense of the Gothic. Establishing a historical account of the term "Gothic", the corresponding literary genre will be studied, introducing specific examples of writing from some of the leading practitioners of the Gothic literary period - Horace Walpole, Ann Radcliffe, Matthew Lewis and Charles Maturin - giving special attention to the related ideas of Edmund Burke. Jane Austen's parody of the formulaic Gothic will also be a focus.;Although Hardy is not a Gothic writer in the manner of the eighteenth-century Walpole or Radcliffe, he uses traditional and non-traditional Gothic literary conventions in his novels. Like most Gothic authors, he often alludes to the existence of an inexplicable entity, possibly of supernatural origin. In his earlier novels, he discounts the power of such a force and offers reasonable explanations for events that appear inexplicable. However, no similar clarification is offered in his later novels.Mon, 15 Dec 2014 10:37:47 GMThttp://hdl.handle.net/2381/302712014-12-15T10:37:47ZA disciple has crossed over by water : an analysis of Lawrence Durrell's Alexandria quartet in its Egyptian historical and intellectual contextshttp://hdl.handle.net/2381/30265
Title: A disciple has crossed over by water : an analysis of Lawrence Durrell's Alexandria quartet in its Egyptian historical and intellectual contexts
Authors: Diboll, Mike.
Abstract: This dissertation examines Lawrence Durrell's The Alexandria Quarter in its various Egyptian contexts. It contests the idea that the Alexandria of the Quartet is essentially a city of the imagination which bears little or no relation to the real city of history. It argues that various strata of Alexandrian history, from antiquity to the nineteen-fifties, are deeply embedded in Durrell's Quartet. Of particular interest is the tetralogy's representation of the history of Egypt's Wafdist independence movement in the years 1919 - 1952, and Britain's responses to it. The dissertation argues that the tetralogy can be read as an allegorical treatment of historical events that took place in colonial Egypt.;Chapter One of the dissertation provides an over-view of Durrell's Quartet and of the main critical and scholarly approaches which have been used in the study of the tetralogy.;Chapter Two continues the exposition, with particular reference to T.S. Eliot's concept of "tradition", and Edward Said's "Orientalism" as keys for the understanding of the Quartet. This chapter then applies these two concepts to the analysis of the Quartet, and proposes to "tradition of Orientalism" with the tetralogy as the paradigmal text of "late Orientalism". Conrad's Heart of Darkness is proposed as an important precussor.;Chapter Three examines the ways in which the Quartet makes use of the history of Alexandria from the city's founding by the Ptolomies until early modern times, with particular reference to the British occupation of Egypt 1882-1956. The chapter then examines the tetralogy's treatment of British Imperial selfhood and the Egyptian "Other".;Chapter Four examines the Alexandria Quartet, in particular Mountolive, in parallel to the history of the Egyptian Wafd party and the struggle for Egyptian independence. It argues that Mountolive should be read as an allegorical treatment of events that took place in Egypt between the years 1919 - 56.Mon, 15 Dec 2014 10:37:46 GMThttp://hdl.handle.net/2381/302652014-12-15T10:37:46ZIndividual(s), individualism, and the world of chaos and order : a study of Tom Stoppard's workshttp://hdl.handle.net/2381/30267
Title: Individual(s), individualism, and the world of chaos and order : a study of Tom Stoppard's works
Authors: Kim, Tae Woo.
Abstract: In the early works, typically in Rosencrantz and Guildenstem Are Dead and Lord Malquist and Mr Moon. Stoppard presents modem man's desperate efforts to find meanings in his lives and the world, on the one hand, and the agonizing process of an aspiring writer trying to establish his own identity as a creative writer, on the other. In spite of their instinctive and intuitive belief in the order of the world, however, the early protagonists are unredeemably entrapped in chaos, and end up in ignominious deaths. After the spectacular success of Rosencrantz and Guildenstem Are Dead, the tone of Stoppard's works changed in a significant, if almost imperceptible, way. The frustration and helplessness which permeate his earlier works almost disappeared. More significantly, Stoppard deliberately tried to expound and defend his own ideas on such fundamental issues as morality and art in Jumpers and Travesties, respectively, and the ideas have basically remained the same throughout his whole career. After Travesties there took place more explicit changes in style and subject in Stoppard's works which marked Stoppard's so-called political theatre. The works of this period can best be explained as occasional and transitional, and, it is through these political works that Stoppard's individualist ethic found its most clear-cut expression. The Real Thing signals a new, maturer era of Stoppardian theatre. Stoppard almost for the first time furnished the stage with fully fleshed-out characters not only in terms of the protagonist but down to every and each minor character. Ideas are not simply presented as preconceived, but unfold themselves to the final conclusion through dramatic actions and conflicts. Love, a rare theme in the Stoppardian theatre until then, finally takes centre stage as "the real thing", and is presented in such a way that only through love is a real union possible between the people (individuals). Arcadia is the closest to Stoppard's dramatic ideal of "the perfect marriage between ideas and high comedy".Mon, 15 Dec 2014 10:37:46 GMThttp://hdl.handle.net/2381/302672014-12-15T10:37:46ZThree sibyls on a tripod : revisionary mythmaking in the poetry of H.D., Sylvia Plath, and Adrienne Richhttp://hdl.handle.net/2381/30266
Title: Three sibyls on a tripod : revisionary mythmaking in the poetry of H.D., Sylvia Plath, and Adrienne Rich
Authors: Görey, Özlem.
Abstract: This thesis aims to explore the strategies of revisionary mythmaking employed by H.D., Sylvia Plath, and Adrienne Rich. Although I also turn to their prose writings, the main focus remains on poetry. The analysis of their poetry draws its insights from French feminist theory, particularly the theories of Luce Irigaray. The relationship between myths and construction of identity is explored through detailed reading of the poetry of these three poets. It investigates traditional patriarchal myths, such as classical, religious, historical, myths created and perpetuated by psychoanalysis, myths of womanhood and motherhood, as well as their function in organizing our perceptions of what constitutes reality. The thesis contests these myths' claim to universality. The poets not only challenge patriarchal myths in their poetry, but they also seek to present alternatives to established traditions. They work towards the rejection of clearly defined patriarchal binary oppositions, and instead propose a different kind of difference which is non-oppositional and non-hierarchical. Through detailed reading of their poetry, which is informed by theory, I suggest that the idea of a changeless and static self is rejected by the poets. In their work they deal with the lack of articulation of female subjectivity within patriarchal constructs, and identify the broken mother-daughter bond as a very important aspect of this impossibility. They repeatedly return to the semiotic where this vital bond is still intact, and patriarchal binary oppositions has not been established yet. Hence, multiplicity and ambiguity are always foregrounded as a key theme. The three poets ultimately posit that patriarchal myths are neither 'natural' nor 'compulsory'. They challenge patriarchal myths and language through their revisionary mythmaking and their articulation of female experiences that have been unheard, denied validity, and devalued. These strategies contribute to the ongoing process of subverting established myths, and ultimately, construction of alternative modes of imagination.Mon, 15 Dec 2014 10:37:46 GMThttp://hdl.handle.net/2381/302662014-12-15T10:37:46ZWar and the writing of Henry Greenhttp://hdl.handle.net/2381/30268
Title: War and the writing of Henry Green
Authors: Easeman, Geoffrey.
Abstract: Henry Green belongs to a generation of English writers formed by the following experiences:;- born in the early years of the twentieth century;;- educated at private preparatory school, public school and Oxbridge;;- their formative years at school coinciding with the First World War;;- having been prepared by their schools to fight in a war which, once it had settled into a trench bound war of attrition, appeared to have no end;;- schoolboy consumers of stories of the heroism of war but also aware, after the battle of the Somme, of the horror of trench warfare;;- consigned, by the relatively sudden ending of the war, to be the generation just too young to have fought.;These experiences led Green's generation to develop a dichotomy of heroism and horror as their reaction to the First World War. Henry Green embodied the dichotomy into the form of his writing, producing a complexity and ambiguity of expression. This thesis argues that the dichotomy of heroism and horror as a reaction to war, learned by Green at school, present, in varying degrees, in the writings of the contemporary writers that form his generation, can be found in the form and subject matter of all his novels and his interim autobiography, Pack My Bag. The dichotomy remains constant, deriving its force of expression from the changing historical context in which Green's writings were published, similar to a musical motif, which remains constant as the underlying chords change.Mon, 15 Dec 2014 10:37:46 GMThttp://hdl.handle.net/2381/302682014-12-15T10:37:46ZNarratives of Eros and desire in Shakespeare's poetryhttp://hdl.handle.net/2381/30262
Title: Narratives of Eros and desire in Shakespeare's poetry
Authors: Heravi, Shideh Ahmadzadeh.
Abstract: Through a detailed analysis of two outstanding discourses on love: Plato's eros and Lacan's desire, this thesis studies the narratives of desire in Shakespeare's poetry. My reading of Shakespeare's poetry is an interpretation of three major themes of procreation, sublimation, and idealisation that not only reflect the discourse of desire but also establish its formulation. In each chapter a tradition of the theme has been respectively incorporated to demonstrate its context. Part I (Chapters One to Three) reveals Plato's concept of eros in terms of logocentricism and its egocentric nature. Part II (Chapters Four to Seven) concentrates on the cause, nature and object of desire from Lacan's perspective.;In Part III, Chapter Eight focuses on the metaphor of procreation as an egocentric desire that creates the irrevocable mark of loss. Through the act of regeneration, the lower not only establishes the beloved as an other but also denies any sense of unity. In Chapter Nine, the paradoxical nature of sublimation demonstrates a mode of auto-eroticism that constitutes desire as a metonymy of want-to-be. By elevating the beloved, the lover maintains his transcendence. Finally, Chapter Ten explores the unrepresentability of beauty and the inexpressibility of desire in the movement of idealisation. The dematerialisation of the beloved presents an iconic image of her and the language of desire, like the language of hieroglyphics, becomes indecipherable. Accordingly, the image of death in Shakespeare's poetry characterises the impossibility of desire. In a concluding chapter, I demonstrate how Shakespeare's lover in articulation of his desire, faces a dilemma.Mon, 15 Dec 2014 10:37:45 GMThttp://hdl.handle.net/2381/302622014-12-15T10:37:45ZTelling stories and making history : John Berger and the politics of postmodernismhttp://hdl.handle.net/2381/30264
Title: Telling stories and making history : John Berger and the politics of postmodernism
Authors: Mehta, Roger Rajeeve.
Abstract: The above named thesis is an inter-disciplinary study which considers John Berger's multi-media storytelling project, located in the margins of Europe/ the postmetropolis/ the canon, in the 'global' context of Euro-American postmodernism. This thesis is concerned with the question of how useful 'theory' and/or postmodernism might be in the understanding of Berger's position, and with how Berger's position might be used to re-locate 'theory', and to tell a radical story of postmodernism. The thesis focuses on Berger's work from the mid-1970s to the mid-1990s. There are two main reasons for this. Firstly, because it was only after Berger emigrated, in 1974, that he declared himself to be a storyteller. And secondly, because the date of Berger's emigration coincides with the period when the transition from a modern to a postmodern condition began to be felt. The thesis also focuses on Berger's relation to Walter Benjamin and his writings about the dead, messianism, and storytelling. The argument advanced is that Benjamin's - and Berger's - writings about the dead should be read as emerging from and speaking to a specific historical conjuncture, or constellation one in which the dominant, (post)metropolitan story of unilinear time and progress is coming to an end.Mon, 15 Dec 2014 10:37:45 GMThttp://hdl.handle.net/2381/302642014-12-15T10:37:45ZDeconstructing the name : three theological paradoxes of language in literary discoursehttp://hdl.handle.net/2381/30263
Title: Deconstructing the name : three theological paradoxes of language in literary discourse
Authors: Nojoumian, Amir Ali.
Abstract: This thesis is an examination of language in general and literary language in particular through a close reading of some key texts by Jacques Derrida and Walter Benjamin. Based on a comparative study of deconstruction and theological discourse, it identifies three paradoxes in literary language and argues that this can deeply affect the act of literary reading. The thesis is divided into three sections. Each section deals with a particular paradox and stages a theoretical discussion of the relation between two oppositional forces and ends with a reading of a literary text.;Part I is a study of the relation between the notions of singularity (originality) and generality (multiplicity). I contend that these two poles are not oppositional in a literary text. While the translated text always bears the singular mark(s) of the original text within it, the singularity of the text demands further translations. I read Jorge Luis Borges's "Pierre Menard, Author of the Quixote" and argue that singularity and multiplicity interconnect in this text.;Part II examines the representational aspect of language against the self-referential (immanent) one. It then explains how referentiality takes the meaning effects of the text to both the edges and the centre. I look at these points in relation to Thomas Pynchon's The Crying of Lot 49 in which I suggest a labyrinthine structure illustrates this 'tug of war'.;Part II focuses on the notion of negation in language and its relation to Derrida's thought. I explain how in theological discourse, language is perceived as both negative and affirmative and later explain the curious relationship between deconstruction and negative theology. I also examine Samuel Beckett's The Unnameable to argue how the notion of 'silence' as the negative side of language cohabits with the literary text.;Finally, I ask to what extent literary discourse - through deconstructing the oppositions of singularity/multiplicity, representation/immanence, negation/affirmation - can take language to the limits of its metaphysical existence.Mon, 15 Dec 2014 10:37:45 GMThttp://hdl.handle.net/2381/302632014-12-15T10:37:45ZGrace-ful reading : theology and narrative in the works of John Bunyanhttp://hdl.handle.net/2381/30261
Title: Grace-ful reading : theology and narrative in the works of John Bunyan
Authors: Davies, Michael T.
Abstract: This thesis challenges the literary tradition of reading Bunyan's narrative works separately from the theology that fundamentally informs them. It argues that a full understanding of texts like Grace Abounding to the Chief of Sinners and The Pilgrim's Progress is possible only through a more accurate appraisal of Bunyan's religious doctrines, and a critical practice that pays due attention to Bunyan's Nonconformist poetics.;'Grace-ful Reading' regards Bunyan's theology in terms very different from those of the abhorrent Calvinism that studies often emphasise. Bunyan's narratives are understood here as propounding a doctrine of Law and grace that is essentially accommodating and comforting. Moreover, in terms of the experimental nature of Bunyan's theology, this thesis aims to demonstrate that his narrative works are constructed according to a specific purpose - to teach the reader about reading the self and the Word in terms of a faith that is experimental rather than rational.;Consequently, 'Grace-ful Reading' views Bunyan's narrative works as attempting to elicit a specifically doctrinal reader-response, one that foregrounds spiritual understanding over anything knowable and reasonable. Indeed, Bunyan's texts teach about grace, faith, and spiritual perception by frustrating the reader's rational expectations of them as narratives. Hence, Bunyan's textual procedures are considered as essentially anti-narrative, his spiritual autobiography and spiritualised allegories effectively curtailing any 'historical' interest in them as moralistic or imaginative fables.;'Grace-ful Reading' offers a more detailed and contextually situated understanding of Bunyan's doctrines while exploring the textuality of his writings through a contemporary, even postmodernist narrative discourse.;This study is organised into six chapters. Chapter 1 specifically addresses Bunyan's theology while Grace Abounding and The Pilgrim's Progress receive extensive analysis in chapters 2 and 3, 4 and 5 respectively. Chapter 6 assesses The Life and Death of Mr. Badman, The Holy War, and The Pilgrim's Progress, Part II as sequels to Bunyan's most popular allegory.Mon, 15 Dec 2014 10:37:44 GMThttp://hdl.handle.net/2381/302612014-12-15T10:37:44ZRoyal Miltonhttp://hdl.handle.net/2381/29295
Title: Royal Milton
Authors: Knight, Sarah Marie
Abstract: In the autumn of 1629, John Milton
returned to Christ’s College, Cambridge,
to start his postgraduate studies. Milton
began his MA as the university was planning
an important event, which the biblical scholar
and Christ’s tutor Joseph Mede described in
a letter of September 19: “The French Ambassador
comes hither on Wednesday next, &
they say our Chancellour with him. On Thursday
we haue an Act for him at the Schooles.
Whether the Comedy at Trinitie will be ready
I know not. Some say they cannot gett their
lessons”. [Opening Paragraph]Mon, 01 Dec 2014 14:13:59 GMThttp://hdl.handle.net/2381/292952014-12-01T14:13:59ZElegies and epigramshttp://hdl.handle.net/2381/29292
Title: Elegies and epigrams
Authors: Knight, Sarah MarieTue, 25 Nov 2014 16:07:34 GMThttp://hdl.handle.net/2381/292922014-11-25T16:07:34Z